It’s no secret that I’m a devoted admirer of Elvis Presley. I was a huge fan of Elvis, directed by Baz Luhrmann and starring Austin Butler and Tom Hanks, so when I heard about EPiC: Elvis Presley in Concert – also directed by Luhrmann – I was immediately intrigued. During the making of Elvis, Luhrmann sifted through an extensive archive of found footage, originally intending to incorporate much of it into the biopic. Instead, that material became the foundation for this new film. The result is a compilation of newly restored and previously unseen concert footage from Presley’s Las Vegas residency, capturing him in the later years of his career.
I’ll admit, the film wasn’t quite what I expected – but I nonetheless found myself completely absorbed in its world. I had anticipated a straightforward concert film, similar to the large-scale cinematic experiences of Taylor Swift: The Eras Tour or Renaissance: A Film by Beyoncé. Instead, what we’re given is something more intimate. The concert footage is interwoven with archival clips and cultural context- including moments from the British Invasion era, featuring The Beatles, as well as stark images of fans holding signs declaring “Elvis is dead,” symbolising his perceived decline in popularity. Yet the film simultaneously documents his extraordinary resurgence in Las Vegas: sold-out crowds, women throwing underwear onto the stage, and Elvis effortlessly commanding the room. This layered structure gives the film an almost home-movie quality, creating a portrait that feels both reflective and personal rather than purely performative.
One of the things I most admire about Luhrmann is the sincerity of his admiration for Elvis and his family. It’s clear he approaches the material with reverence and a desire to honour Presley’s legacy. His signature grandeur and auteur style feel perfectly suited to a performer of Elvis’s magnitude. The scale, the spectacle, the heightened emotion – it all aligns seamlessly with a figure whose presence was larger than life. Luhrmann’s research and care are evident throughout, and his passion unmistakably shapes the film’s tone.
The quality of the restored footage is particularly striking. It has been remastered beautifully, maintaining the warmth and texture of archival film while appearing crisp, vivid, and unexpectedly bold in colour. It strikes a delicate balance between nostalgia and spectacle, allowing it to feel both historically grounded and cinematically grand. The effort invested in preserving and enhancing this material is apparent, and it elevates the entire viewing experience.
That said, I was slightly surprised by the extent of the non-concert footage. Marketed as Elvis Presley in Concert, I initially expected an uninterrupted live performance. At times, songs are cut short to accommodate additional clips, which left me wishing I could experience certain performances in full. The transitions between concert segments and archival inserts occasionally disrupt the flow. However, I do appreciate that this approach differentiates the film from more conventional concert releases; it becomes less about a setlist and more about contextualising a cultural moment.
Like any fan at a live show hoping to hear their favourite song, I found myself slightly disappointed that certain iconic tracks – such as “Unchained Melody” and “If I Can Dream” -were absent. While I understand the practical limitations of a 90-minute runtime (which ultimately keeps the film tight and engaging), I would happily sit through a longer cut if it meant hearing more songs in their entirety.
As a companion piece to Luhrmann’s Elvis, this documentary offers a fascinating tonal contrast. In the biopic, the Las Vegas years are portrayed with a darker edge, heavily shaped by the manipulative influence of Colonel Tom Parker and Elvis’s increasing reliance on prescription medication to endure the punishing performance schedule. The pressure of performing two shows a night, seven nights a week, is depicted as suffocating. In contrast, this documentary presents that same era as vibrant and exuberant – filled with laughter, camaraderie with backing vocalists, adoring audiences, and moments of palpable joy. There’s an infectious energy that radiates from the stage. Of course, one cannot ignore the reality beneath the surface; perhaps the exuberance was, in part, a performance masking deeper struggles.
Overall, EPiC: Elvis Presley in Concert is electric, immersive, and deeply personal. It may not be the conventional concert film some expect, but it offers something arguably richer: a textured and celebratory portrait of a cultural icon at a pivotal moment in his career. For devoted fans of Elvis, it is a thrilling cinematic experience – and undoubtedly one of the year’s most memorable cinematic events.
★★★★
In cinemas from February 20th / Elvis Presley / Dir: Baz Luhrmann / Universal / 12A
Related
Discover more from
Subscribe to get the latest posts sent to your email.
